"George Stubbs George Stubbs (25 August 1724 – 10 July 1806) was an English painter, best known for his paintings of horses. Stubbs was born in Liverpool, the son of a currier, or leather-dresser, John Stubbs, and his wife Mary. Information on his life until the age of 35 or so is sparse, relying almost entirely on notes made by Ozias Humphry, a fellow artist and friend; Humphry's informal memoir, which was not intended for publication, was based on a series of private conversations he had with Stubbs around 1794, when Stubbs was 70 years old, and Humphry 52. Stubbs"
"a key figure in importing Rococo taste in book illustrations and ornament prints for craftsmen to follow. In the modern popular mind, English art from about 1750–1790 — today referred to as the ""classical age"" of English painting — was dominated by Sir Joshua Reynolds (1723–1792), George Stubbs (1724–1806), Thomas Gainsborough (1727–1788) and Joseph Wright of Derby (1734–1797). At the time Reynolds was considered the dominant figure, Gainsborough was very highly reputed, but Stubbs was seen as a mere painter of animals and viewed as far a less significant figure than many other painters that are today little-known or forgotten."
"it is preserved. The Statute of Anne gave the publishers rights for a fixed period, after which the copyright expired. From the creation of the United Kingdom, the English school of painting is mainly notable for portraits and landscapes, and indeed portraits in landscapes. Among the artists of this period are Joshua Reynolds (1723–1792), George Stubbs (1724–1806), and Thomas Gainsborough (1727–1788). Pictorial satirist William Hogarth pioneered Western sequential art, and political illustrations in this style are often referred to as ""Hogarthian"". Following the work of Hogarth, political cartoons developed in England in the latter part of the 18th century under"
"well as views of country houses and equine subjects. This introduced an alternative to the various Dutch and Flemish artists who had previously set the prevailing landscape style in Britain, and through intermediary artists such as George Lambert, the first British painter to base a career on landscape subjects, was to greatly influence other British artists such as Gainsborough. He is now somewhat eclipsed in the field of animal paintings by the later George Stubbs (1724–1806), who is considered technically superior. John Wootton died in London on 13 November 1764. Examples of his animal painting can be found in the"
"engravings from which appeared between 1804 and 1806. The project was left unfinished upon Stubbs's death at the age of 81 on 10 July 1806, in London. Stubbs's son George Townly Stubbs was an engraver and printmaker. Stubbs remained a secondary figure in British art until the mid-twentieth century. The art historian Basil Taylor and art collector Paul Mellon both championed Stubbs's work. Stubbs's ""Pumpkin with a Stable-lad"" was the first painting that Mellon bought in 1936. Basil Taylor was commissioned in 1955 by Pelican Press to write the book ""Animal Painting in England – From Barlow to Landseer"", which"
"influenced by the work of George Stubbs, and Sawrey Gilpin. Later in life he lived and worked in Derby, Leicestershire, Chester and finally Liverpool where he died in 1812. John Boultbee (artist) John Boultbee (Artist) (1753 - 1812) was an English painter of equestrian and other sporting subjects. He was born in Osgathorpe, Leicestershire on 4 June 1753 and died in Liverpool on 30 November 1812. Boultbee entered the Royal Academy School in 1775 and became a pupil of Sir Joshua Reynolds exhibiting in London, including at the Royal Academy, from that date. John Boultbee was greatly admired by George"
"The Kongouro from New Holland The Kongouro from New Holland is an oil painting by George Stubbs. Depicting a kangaroo, it is the first depiction of an Australian animal in Western Art, along with a painting of a dingo—""Portrait of a Large Dog""—also by George Stubbs. It is part of the collection of the National Maritime Museum in Greenwich, London. The work was commissioned by Joseph Banks and based on the inflated skin of an animal he had collected from the east coast of Australia in 1770 during Lieutenant James Cook's first voyage of discovery. It depicts the animal sitting"
"and Thomas Phillips (1770-1845). Also of note are Jonathan Richardson (1667-1745) and his pupil (and defiant son-in-law) Thomas Hudson (1701-1779). Joseph Wright of Derby (1734-1797) was well known for his candlelight pictures; George Stubbs (1724-1806) and, later, Edwin Henry Landseer (1802-1873) for their animal paintings. By the end of the century, the English swagger portrait was much admired abroad. London's William Blake (1757-1827) produced a diverse and visionary body of work defying straightforward classification; critic Jonathan Jones regards him as ""far and away the greatest artist Britain has ever produced"". Blake's artist friends included neoclassicist John Flaxman (1755-1826), and Thomas"
"on a rock and looking over its shoulder with a backdrop of trees and mountains. The two were the only two paintings that Stubbs did not draw from a live subject. It was first exhibited by the Society of Artists in London in 1773 together with his painting of the dingo, ""Portrait of a Large Dog"". Subsequent exhibitions were held at the Walker Art Gallery in Liverpool in 1951 and the Whitechapel Art Gallery in 1957. The painting has also been on view in recent years at Palham House during public openings. In 2012, ""The Kongouro from New Holland"" and"
"the sale at auction of ""Gimcrack on Newmarket Heath, with a Trainer, a Stable-Lad, and a Jockey"" (1765) at Christie's in London in July 2011 for £22.4 million. It was sold by the British Woolavington Collection of sporting art; the buyer was unidentified. The British Royal Collection holds 16 paintings by Stubbs. Two paintings by Stubbs were bought by the National Maritime Museum in Greenwich, London after a public appeal to raise the £1.5 million required. The two paintings, ""The Kongouro from New Holland"" and ""Portrait of a Large Dog"" were both painted in 1772. Depicting a kangaroo and a"
"""The Kongouro from New Holland"", and it is seen as a fairly general depiction of a dingo, soon superseded by more accurate depictions in 1789. The two works were the only paintings that Stubbs, highly regarded in the genre, did not draw from a live subject, although it is one of the few oil paintings to present a scientific specimen. It was first exhibited by the Society of Artists in London in 1773 together with his painting of a kangaroo, ""The Kongouro from New Holland"". The painting has been on view in recent years at Parham House during public openings."
"Portrait of a Large Dog Portrait of a Large Dog is an oil painting by George Stubbs. Depicting a dingo (""Canis lupus dingo""), it is the first depiction of an Australian animal in Western art, along with a painting of a kangaroo by Stubbs. It is part of the collection of the National Maritime Museum in Greenwich, London. The work was commissioned by Joseph Banks based on his observations of dingoes on the east coast of Australia in 1770 during Lieutenant James Cook's first voyage of discovery. No specimen was collected for use as a subject, unlike its companion painting"
"met with skepticism when taken back to Europe, for example claims that the platypus was a hoax. In the form of copies and reproductions, George Stubbs' 1772 paintings ""Portrait of a Large Dog"" and ""The Kongouro from New Holland""—depicting a dingo and kangaroo respectively—were the first images of Australian fauna to be widely disseminated in Britain. Despite Banks' suggestions, no professional natural-history artist sailed on the First Fleet in 1788. Until the turn of the century all drawings made in the colony were crafted by soldiers, including British naval officers George Raper and John Hunter, and convict artists, including Thomas"
"Whistlejacket Whistlejacket is an oil-on-canvas painting from about 1762 by the British artist George Stubbs showing the Marquess of Rockingham's racehorse approximately at lifesize, rearing up against a plain background. The canvas is large, lacks any other content except some discreet shadows, and Stubbs has paid precise attention to the details of the horse's appearance. It has been described in ""The Independent"" as ""a paradigm of the flawless beauty of an Arabian thoroughbred"". The Fitzwilliam family, heirs of the childless Rockingham, retained the painting until 1997 when funding from the Heritage Lottery Fund allowed the National Gallery, London to acquire"
"living at 23 Beaumont Street, Marylebone. In 1812 he relocated to Newmarket, and was often described as ""Marshall of Newmarket"". He was seriously injured in a coach crash in 1819 which prevented him from painting for a year, and left him with permanent disability. He became a regular contributor of letters about horse racing in ""The Sporting Magazine"" from 1821 until 1833, writing under the pseudonym 'The Observator'. He died on 29 January 1835. Benjamin Marshall Benjamin Marshall (8 November 1768 – 29 January 1835) was an English sporting and animal painter. He was a follower of George Stubbs and"
"and tuna, to freshwater fish such as trout and carp. Birds such as partridges, pheasants and ducks, and mammals such as deer and wild boar, are among the terrestrial game animals most often hunted for sport and for food. Animals, often mammals but including fish and insects among other groups, have been the subjects of art from the earliest times, both historical, as in Ancient Egypt, and prehistoric, as in the cave paintings at Lascaux and other sites in the Dordogne, France and elsewhere. Major animal paintings include Albrecht Dürer's 1515 ""The Rhinoceros"", and George Stubbs's c. 1762 horse portrait"
"fact Stubbs's earliest canvases on his visit in 1762 included a pair of much smaller paintings of groups of standing horses, one including Whistlejacket, in a horizontal format ""like a classical frieze"" with a similar honey beige background broken only by small shadows at the feet. It would seem likely that leaving the portraits without the usual landscape background was Rockingham's idea. Stubbs depicts Whistlejacket rising to a levade, but with his head turned towards the viewer, in a pose comparable to a number of earlier monumental equestrian portraits, including examples by Rubens and Velázquez, but in these the emphasis"
"of Oliver Goldsmith's classic comic play ""She Stoops to Conquer"" (1773) when an elopement is planned: ""I have got you a pair of horses that will fly like Whistlejacket"". Whistlejacket Whistlejacket is an oil-on-canvas painting from about 1762 by the British artist George Stubbs showing the Marquess of Rockingham's racehorse approximately at lifesize, rearing up against a plain background. The canvas is large, lacks any other content except some discreet shadows, and Stubbs has paid precise attention to the details of the horse's appearance. It has been described in ""The Independent"" as ""a paradigm of the flawless beauty of an"
"today. Cabin scenes are rare in oil painting, and the museum considers this to be the most famous example in British art. Captain Lord George Graham in his Cabin Captain Lord George Graham in his Cabin is a 1745 oil-on-canvas painting by the English artist William Hogarth. A conversational picture, it shows Captain Lord George Graham, of the Royal Navy, in the cabin of his ship with several people. The painting was probably commissioned by Graham to commemorate a naval battle he had fought recently. While commanding a 24-gun sixth rate, he had been one of three British ships to"
"is on the rider. Here the horse is alone and in a natural state, producing a ""romantic study in solitude and liberty"". Like many of Stubbs's other paintings of horses and other animals in the wild, including several versions of a horse attacked by a lion perched on its back, the painting is an early intimation of Romanticism, as well as a challenge to the lowly place animal painting occupied in the hierarchy of genres. To a greater degree than any earlier painter, Stubbs produced genuinely individual portraits of specific horses, paying intimate attention to details of their form. Minute"
"Diego Velázquez portraying regal subjects atop their mounts. Equine sporting art also became established in this era as the tradition of horse racing emerged under Tudor patronage. George Stubbs born in 1724 became so associated with his equestrian subjects that he was known as ""the horse painter"". A childhood interest in anatomy was applied to the horse he spent eighteen months dissecting equine carcasses and had an engraver produce book plates of his studies. These anatomical drawings aided later artists. The mid 18th century saw the emergence of Romanticism, French artists Théodore Géricault and Eugène Delacroix were proponents of this"
"eight reproductions in colour. (by William Loftus Hare) George Frederic Watts George Frederic Watts, (London 23 February 1817 – 1 July 1904) was an English Victorian painter and sculptor associated with the Symbolist movement. He said ""I paint ideas, not things."" Watts became famous in his lifetime for his allegorical works, such as ""Hope"" and ""Love and Life"". These paintings were intended to form part of an epic symbolic cycle called the ""House of Life"", in which the emotions and aspirations of life would all be represented in a universal symbolic language. Watts was born in Marylebone, London on the"
"Reinagle and the dogs are by George Stubbs. Sir George Colebrooke of Gatton Park in Surrey commissioned at least two paintings from Barret. Colebrooke was a London banker and also became chairman of the East India Company. He became the member of Parliament for the rotten borough of Gatton in 1754 as a member of the Whig party and held office under the Marquess of Rockingham. However, his financial speculations led to his downfall and he was declared bankrupt in 1777. Sir George Colebrook had commissioned Capability Brown in 1762 to landscape Gatton and a painting by Barret, sold at"
"blemishes, veins, and the muscles flexing just below the surface of the skin are all visible and reproduced with great care and realism. Whistlejacket had already retired after a fairly successful racing career, but was painted in this unusual form to show ""a supremely beautiful specimen of the pure-bred Arabian horse at its finest"". Stubbs's knowledge of equine physiology was unsurpassed by any painter; he had studied anatomy at York and, from 1756, he spent 18 months in Lincolnshire where he carried out dissections and experiments on dead horses to better understand the animal's physiology. He suspended the cadavers with"
"sand artists jealously guarded their method from their competitors. Zobel depicted ""pigs in the manner of Morland""; ""Nelson"", the favourite dog of the Duke of York; ""Tiger after George Stubbs"", and an impressive ""Vulture and snake."" Although many of Zobel's works have survived, few of those by Haas have survived the passage of time, although observers considered his work superior to that of Zobel. This may reflect the differing techniques used by each artist. A diarist observed Zobel's coating the surface of the baseboard with a mixture of gum arabic and white lead and sprinkling sand upon the sticky surface"
"conditions of non-sentiment which underlie all you are doing now"". Ruskin's hostility towards the painting led to a quarrel between Ruskin and Rossetti, and Rossetti drifted away from Pre-Raphaelite thinkings and towards the new doctrine of art for art's sake expounded by Algernon Charles Swinburne. Since the time of George Stubbs (1724–1806), Britain has had a strong tradition of animal painting, a field which had gained respect owing to James Ward's highly proficient animal paintings of the early 19th century. Selective breeding of livestock, particularly dogs, had become highly popular, leading to a lucrative market in drawings and paintings of"
"Snaffles Charles ""Snaffles"" Johnson Payne (1884–1967) was an English painter best known for his humorous work but also for his outstanding draughtsmanship and depiction of the horse in action which some might say exceeds Lionel Edwards and Munnings Snaffles specialised in water colours and drawings sold as prints which, at least initially, were hand coloured by the artist and his sisters. His subject matter was invariably military, racing or hunting / equestrian scenes (polo, pig sticking), or some combination of these. Many of his most famous pictures contrast or combine military life with the peacetime pursuits of racing and hunting."
"the uniform print is ""Soldiers of the 10th Light Dragoons"" (the ""Prince of Wales Own"") painted in 1793 by George Stubbs for their Colonel in Chief, the future George IV of England. Other paintings of single soldiers were more dramatic, like Théodore Géricault's ""The Charging Chasseur"" (c. 1812). Eugène Delacroix, who also painted many smaller combat scenes, finished his ""The Massacre at Chios"" in 1824, showing a then notorious attack on Greek civilians by Ottoman forces during the Greek War of Independence, who are shown in an entirely negative light. It had a more immediate impact on European art than"
"purchase the portraits. In November 2013 it was announced that a £1.5million donation from the Eyal Ofer Family Foundation will enable the National Maritime Museum in Greenwich, London to acquire the two paintings. Portrait of a Large Dog Portrait of a Large Dog is an oil painting by George Stubbs. Depicting a dingo (""Canis lupus dingo""), it is the first depiction of an Australian animal in Western art, along with a painting of a kangaroo by Stubbs. It is part of the collection of the National Maritime Museum in Greenwich, London. The work was commissioned by Joseph Banks based on"
"genres"" of painting was Sir James Thornhill (1675/76–1734) who was the first and last significant English painter of huge Baroque allegorical decorative schemes, and the first native painter to be knighted. His best-known work is at Greenwich Hospital, Blenheim Palace and the cupola of Saint Paul's Cathedral, London. His drawings show a taste for strongly drawn realism in the direction his son-in-law William Hogarth was to pursue, but this is largely overridden in the finished works, and for Greenwich he took to heart his careful list of ""Objections that will arise from the plain representation of the King's landing as"
"Capriccio of the City of London Capriccio of the City of London is an early 18th century oil painting made by the Dutch Griffier family, who became well known in England. Jan Griffier and his children, Jan and Robert, created the landscape. This canvas shows London almost a century after the devastating Great Fire of London of September 1666. A courtly couple costumed in the period of George II promenades in the foreground. The commercial peak of the time is portrayed by the abundant merchant ships on the River Thames. In the centre stands the famous Monument to the Great"
"that the Founding Fathers look as if standing patiently in a line, saying that ""the reality is messier and richer."" John Trumbull John Trumbull (; June 6, 1756November 10, 1843) was an American artist during the period of the American Revolutionary War and was notable for his historical paintings. He has been called The Painter of the Revolution. Trumbull's ""Declaration of Independence"" (1817), one of his four paintings which hang in the United States Capitol Rotunda, was used on the reverse of the commemorative bicentennial two-dollar bill. Trumbull was born in Lebanon, Connecticut, in 1756, to Jonathan Trumbull and his"
"it for £11 million. Stubbs was a specialist equine artist who in 1762 was invited by Rockingham to spend ""some months"" at Wentworth Woodhouse in Yorkshire, his main country house. Stubbs had painted many horse portraits, with and without human figures, but the heroic scale and lack of background of ""Whistlejacket"" are ""unprecedented"" in his work and equine portraits in general and ""contemporaries were so astonished that a single horse should command a huge canvas that legends quickly developed"" explaining why the painting was unfinished, none of which seem plausible or supported by the evidence to modern art historians. In"